First Impressions: The SCORES of 2023

[JNHFan2000 2,968]

I feel both film and the score very much try to be like those inspirational sports films from the 80's & 90's. Think Hoosiers, Rudy or The Natural.

 

I haven't seen the film, so I can't speak about that, but the score is very nice. It's nowhere near those masterpieces by Goldsmith & Newman (for one, the album is too long), but Zanelli really goes for it.

 

It's fully orchestral, has a great central theme and rises to some wonderful highs. It's by far the best thing Zanelli has written since Maleficent 2 in 2019. Hope he gets to do more orchestral work in the future, because he clearly knows how to handle it.

[LSH 969]

5 hours ago, JNHFan2000 said:

I feel both film and the score very much try to be like those inspirational sports films from the 80's & 90's. Think Hoosiers, Rudy or The Natural.

 

I haven't seen the film, so I can't speak about that, but the score is very nice. It's nowhere near those masterpieces by Goldsmith & Newman (for one, the album is too long), but Zanelli really goes for it.

 

It's fully orchestral, has a great central theme and rises to some wonderful highs. It's by far the best thing Zanelli has written since Maleficent 2 in 2019. Hope he gets to do more orchestral work in the future, because he clearly knows how to handle it.

 

Just listening to this now, it's quite lovely!

[JNHFan2000 2,968]

I have to say, Arnold hasn't lost his touch. This is such a fun score! It's slightly more serious than the first season. With especially at the end of the album some beautiful string/choir pieces.

 

I love the main theme and it gets a lot of playtime in a lot of different ways, played by different instruments. It's just a lot of fun.

Just for the sake of the music, I hope they make a season 3.

And PLEASE SOMEONE HIRE ARNOLD FOR A BIGGER THEATRICAL FILM ALREADY!!!!

 

 

[JNHFan2000 2,968]

Even though the album is about 15 minutes too long and some of the thriller parts aren't that interesting. The emotional parts I really like. Cues like "Vincent's Demise", "Altamonte's Victory" & "Robert Reconsiders" are quite nice.

 

It's nothing groundbreaking by I enjoyed it for what it was.

 

[JNHFan2000 2,968]

I really love Korzeniowski's work in the first score. That's not an easy listening at all, but what he did with that I thought was great.

 

This is a vintage Beltrami horror score. Slashing strings, choir, big brass. Album's slightly too long, but I really enjoyed it. I still think Renfield is a bit better, but this is the best horror score Beltrami has written in years.

[Knight of Ren 789]

Is it better than his Fear Street Trilogy? That's one of my favorite scores of his in the genre, and I also enjoy parts of his A Quiet Place scores.

 

It's true that Korzeniowski's score was a bit harsh on standalone listening, but also very clever and effective!

[Brónach 1,302]

11 minutes ago, Knight of Ren said:

Is it better than his Fear Street Trilogy? That's one of my favorite scores of his in the genre, and I also enjoy parts of his A Quiet Place scores.

 

oh i've been meaning to watch those

[JNHFan2000 2,968]

2 hours ago, Knight of Ren said:

Is it better than his Fear Street Trilogy? That's one of my favorite scores of his in the genre, and I also enjoy parts of his A Quiet Place scores.

I completely forgot about those for a second. It's better than 1666.

The other 2 are still slightly better I think. Especially 1978.

 

Those have more action music in it. The Nun is a bit more subdued

[Mr. Who 919]

4 hours ago, JNHFan2000 said:

Even though the album is about 15 minutes too long and some of the thriller parts aren't that interesting. The emotional parts I really like. Cues like "Vincent's Demise", "Altamonte's Victory" & "Robert Reconsiders" are quite nice.

 

It's nothing groundbreaking by I enjoyed it for what it was.

 

How is it compared to the two hgw scores?

[JNHFan2000 2,968]

It's different. More orchestra and the emotional pieces are more compelling.

 

The theme HGW composed I did miss a bit. But I feel all 3 scores are pretty standard action/thriller stuff with orchestra/electronics

[JNHFan2000 2,968]

Still: A Michael J. Fox Movie - John Powell

 

Revisted it for the third time during breakfast this morning. It is different from what Powell usually does, but it's actually a very sophisticated score.

 

Powell deserves all the credit that he was able to come up with such a strong score for a documentary where so many needle drops and even other score pieces are used.

 

There are multiple themes, really nice orchestration and all the things Powell has become famous for. It might not be a very flashy score like Solo or HTTYD, but it's a damn good one!

 

Final cue "Life At The Beach" especially is a great summary of what the score has to offer.

[LSH 969]

6 hours ago, JNHFan2000 said:

Still: A Michael J. Fox Movie - John Powell

 

Revisted it for the third time during breakfast this morning. It is different from what Powell usually does, but it's actually a very sophisticated score.

 

Powell deserves all the credit that he was able to come up with such a strong score for a documentary where so many needle drops and even other score pieces are used.

 

There are multiple themes, really nice orchestration and all the things Powell has become famous for. It might not be a very flashy score like Solo or HTTYD, but it's a damn good one!

 

Final cue "Life At The Beach" especially is a great summary of what the score has to offer.

Yeah, that’s a lovely cue. I can hear echoes of his score for I Am Sam (2001), which is one of my favourites of his earlier work.

[JNHFan2000 2,968]

It's not a new score, but it is a new album.

 

I quite enjoyed this this. My favorite pieces are the "Overture" & "Doe Eyes Theme".

 

The jazz arrangements of the two Morricone score are maybe a bit weird at first, but in their own way I enjoyed them. 

 

[JNHFan2000 2,968]

Another not score album, but I had to comment on this because I'm a big musical fan.

 

For me, this is one of the biggest and funniest surprises I've listened to this year. I knew this stage show was being done at Disneyland, but never been able to see it.

 

This album came out of nowhere and honestly, it's one of the most fun musical albums I've heard in a long time.

The whole thing is done with a straight face which makes it even more fun.

There are 2 previous songs "Star-Spangled Man", "Save The City" and Alan Silvestri's Captain America & Avengers themez are used throughout.

 

The new songs are all very well written, orchestrated and performed. The lyrics are all actually very clever, and I love the whole tongue-in-cheeck aspect of the whole thing.

I absolutely love it!!!

 

Ps. There's even a John Williams quote in the song "What You Missed"

 

[Under-Terrestrial 51]

 

This score was such a nice surprise! Other folks on here would be better equipped to describe its influences beyond the broad adjective of "medieval". I saw this film last night, and not only is it stop-motion, but it's rare to see any new feature aimed at children that is both wholesome and gentle. It's all about Leonardo Da Vinci's spirit of innovation, directed by one of the initial writers on Ratatouille. The score lets strings and winds stand out like nobody's business, my kind of score

[JNHFan2000 2,968]

@Thor I thought you might like this. I'm not sure.

 

it's mostly piano, synth and beats. If you cut out the songs you're left with 30 minutes of score.

 

 

[Thor 7,520]

Thanks for the heads up! Listening now; some good elements, some less interesting. Not a lot happening in the soundscapes. I've been trying to get into Bates for years, but it seems he falls JUST short of entering my collection time and again.

[Gustavo Joseph 29]

A Haunting in Venice (Hildur Gudnadottir), a score that is very good in the movie, creepy and moody, with a few instruments and no bombast. Very solid work IMHO. I think her sound would work very well in horror / psychological thrillers. Not a good listening experience outside the movie, but that's another story. 

[thestat 348]

Woah, I literally have no interest in any of the scores on this page - I guess I am getting old. The Eastwood album is okay but the rest are empty background bollocks (and I know what that statement means when I have been told Jerry Goldsmith is background bollocks for decades). But is it really that bad? None of the above peaks my interest but maybe I am just jaded

 

Is there no connection with this for example:

 

[Jay 37,373]

Hans Zimmer - The Creator

 

I listened to the entire OST album this morning and it made no impression on me whatsoever.  In one ear and out the other.  Maybe I'll revisit it again after I see the film.

[Brónach 1,302]

9 minutes ago, Jay said:

Hans Zimmer - The Creator

 

I listened to the entire OST album this morning and it made no impression on me whatsoever.  In one ear and out the other.  Maybe I'll revisit it again after I see the film.

 

wallpaper except for a bit

[Thor 7,520]

35 minutes ago, Jay said:

Hans Zimmer - The Creator

 

I listened to the entire OST album this morning and it made no impression on me whatsoever.  In one ear and out the other.  Maybe I'll revisit it again after I see the film.

Hopefully. But you and I are very different in our taste, so no worries if it has no impression on you.

[JNHFan2000 2,968]

I always enjoy Velázquez' work and this is no different. It's a really fun score, with some really great moments. There's a baroque sound to some of the cues which I really enjoyed.

 

At 70 minutes the album is too long and it gets a bit harder to appreciate. I cut it down to 46 minutes and it's really great that way!

 

 

 

[JNHFan2000 2,968]

This is a very nice and thoughtful score. It's not really anything new from Armstrong and I doubt it'll stay in the memory. But for it's 40 minute runtime I enjoyed it very much.

 

 

[Edmilson 7,473]

 

When it was announced that Zimmer was doing a new sci-fi movie about robots, I expected something like Chappie, maybe mixed with bits of Inception. But I certainly did not expect he to deliver such an emotional score.

 

The Creator is kinda like a continuation of the emotional parts of Wonder Woman 84 and NTTD, with some of the Interstellar religious awe. I'm just happy to see that, post-Nolan, Zimmer is still willing to use a huge orchestra and choir in such an exciting way that I haven't seen from him in years. 

 

The climax that goes from Standby to Prayer (which, according to people on the internet, it's the climax of the movie) and then to True Love is pretty great! The album should've been chronological, though, with True Love coming after Prayer, and The Wounded, Lab Raid and Heaven early on the album.

[Brónach 1,302]

chrological and shorter, it's kind of a snooze

[Raiders of the SoundtrArk 2,433]

Ahsoka, vol. 2

 

While the first volume was a little bit of a let down for me this one is certainly far greater. The action cues are really good, it's a real pleasure to finally hear the Kiner's team enjoying themselves without too much bad synth

[MaxMovieMan 273]

On 12/8/2023 at 3:06 AM, JNHFan2000 said:

The Winning Time Sessions - Season 1 - Nicholas Britell & Robert Glasper

 

It's a shame that Jeff Beal has taken over for S2 because I'm really enjoying it.

Jazz, hip-hop infused with some orchestral stuff.

Besides Andor, Britell has been on a roll for me. Succession, Cruella, Don't Look Up. All great stuff.

 

I just listened to both scores. The first season’s score is better by a lot in my opinion which I’m sure is due to Britell’s contributions. Britell has always had this funky jazz side to him that he’s put in sections of Big Short, Vice, and Don’t Look Up but here he fully embraces it which makes the first volume very memorable for me. Still though the second volume was good enough for what it was. The scores are like you said very funky hip-hop esque with a mix of jazz as well. It works great in show and is great to listen to on its own.

[JNHFan2000 2,968]

Beyond The Screen: Film Works On Piano - Rachel Portman

 

Had this on today while making dinner. It's such a lovely album. Beautifully arranged and performed all the way through.

And even though some of it might sound alike the album is never less than engaging.

[JNHFan2000 2,968]

It's not a new score, but a new song for the new Disney Animated feature due for release in November.

 

Because it has been used in all the trailers it already feels really familiar and I have to be honest I really like. The chorus is strong and DeBose's performance is very good.

 

They're releasing a new song every Wednesday until the film releases, so we'll see how the rest of the songs are.

 

 

[Thor 7,520]

 

Selections are old, but recording and release are brand new. Lovely stuff all around. As someone with a relatively skimpy Rosenthal collection, this is a welcome addition, and in some cases even introduction to his music.

[1977 1,743]

7 hours ago, Thor said:

 

Selections are old, but recording and release are brand new. Lovely stuff all around. As someone with a relatively skimpy Rosenthal collection, this is a welcome addition, and in some cases even introduction to his music.

 

I look forward to sampling this when it is released.

[Jurassic Shark 12,091]

Looks like Hans Zimmer Sr.

[JTN 2,046]

15 hours ago, Thor said:

 

Selections are old, but recording and release are brand new. Lovely stuff all around. As someone with a relatively skimpy Rosenthal collection, this is a welcome addition, and in some cases even introduction to his music.

I love these WSA compilations. Always great performances by the Brussels Phil and one gets a pretty decent introduction to the work of a composer. 

[Thor 7,520]

 

Suave, jazzy, funky music -- as one would expect for what I assume is a heist series(?), but then mixed with some pretty hefty electronic beats on occasion, creating this interesting blend. Very nice!

[Thor 7,520]

 

I was at Knut Avenstroup Haugen's 50th birthday on Friday, and he gave me his music for this new game (not to be confused with the 2014 version, which he also scored). Just his music, not Cris Velasco's (who also contributed music). It's predictably great -- especially the solemn, downkey moments with pronounced choir. The chugging ostinati stuff isn't always that interesting, but it's the name of the game these days, no pun intended. Well worth checking out!

[Under-Terrestrial 51]

THE PEASANTS - Lukasz Rostkowski

 

Haven't seen the film [yet], but this is an immediate winner to me.

 

The film is the hand-painted followup to LOVING VINCENT (same team), and THE PEASANTS score feels like an extension of Clint Mansell's sumptuous rural atmosphere VINCENT, except now it's party time. It's got one foot in Irish folk music, one in Yann Tiersen's Amelie soundtrack (not just the accordian, but similar rhythm/harmony), and a hand in Bulgarian choral music. This is the first feature score by Polish composer/producer/rapper Lukasz L.U.C. Rostkowski, and I bet he'll be in demand after this.

 

Opening track is my favorite so far

 

 

[Thor 7,520]

That's a great sell-in, Under-Terrestrial! Lots to like in what you said. Alas, I didn't have the immediate love of the track you shared, but I'll definitely check out the whole album. Thanks for the tip!

[Knight of Ren 789]

The highlight here is the main theme, with its throwback 80's synth style, and the creepy use of vocals. All the times this style and theme come back are the best parts for me, but the album tends to be a bit too atmospheric and the "scary parts" rely a bit too much on modern horror scoring techniques with electronic manipulation and loud sounds for my taste. I very much prefer the Newton Brothers in their collaborations with Mike Flanagan, especially in this year's excellent House of Usher. This has a nice and properly creepy main theme, but not much else I'm afraid.

[Thor 7,520]

Totally agreed, Knight. Really dug the synthwavey main theme, but most of the rest just wandered aimlessly, or fell into standard horror tropes. I'd love to see the Newtons do a whole score in the style of the first track.

[Knight of Ren 789]

They're scoring the remake of the X-Men animated show, so they might go full throwback synths on that one, but who knows...

 

Federico Jusid's latest work is quite subdued and sparse, and the album presentation is just a tad over 30 minutes. It's melancholic and emotional at parts, and while I found it a bit anonymous and meandering at some spots, there's also some really beautiful writing for piano and strings, especially in the last track. It's not on the same level as some of Jusid's best work, but it's a nice listen.

 

Also, unrelated to this score, but I realized that many Jusid scores haven't been properly released, made available by the composer via promo albums in his soundcloud, or some suites floating around on YouTube, which is a shame, because he's such a really great composer and some really nice scores of his aren't accesible at all, like Boundless from last year, or some of his work on spanish historical tv shows.

[JNHFan2000 2,968]

1 hour ago, Knight of Ren said:

They're scoring the remake of the X-Men animated show, so they might go full throwback synths on that one, but who knows...

 

I saw them post a picture on insta a few weeks back of an orchestra recording with the X-Men logo with it. So it also has an orchestra

[Knight of Ren 789]

Didn't know that! Anyway, I'm curious about that score, because I think it will be the most different project they've done so far, since they usually focus on horror movies and shows.

[HunterTech 994]

Given what the original theme sounds like, I think there's more of a chance for pure orchestra (or at least a hybrid) than synth for the revival

 

 

 

[filmmusic 1,843]

A friend suggested this, that it is his favorite 2023 soundtrack, and resembles John Williams stuff and he was right:

 

 

[Edmilson 7,473]

JNH - All the Light We Cannot See

 

I understand from where all the criticism is coming from. The first 15 tracks are pretty gorgeous. I love this kind of melancholic JNH music for strings, piano and synths. But after that we get to a huge stretch of tracks filled with dark synth textures and orchestral dissonance, not unlike the harshest parts of Blood Diamond, The Hunger Games saga and the many urban thrillers he has done over the years. The finale is decent enough, though nowhere that cathartic as this or this. 

 

I think I'll create a playlist on Spotify focusing just on the pretty parts, which is some of the best stuff he wrote recently, and eliminating the many "dark thriller" cues aside from a few to give variety to the listening experience.

[Thor 7,520]

 

Nice! I've been hoping for Velazquez to deliver something interesting again. This is the first score of his since LO IMPOSSIBLE (that's 11 years ago!) to enter my digital collection. Warm, mediteranean, intimate, with some "Cavatina"-like guitars running through it, crossed with CINEMA PARADISO. Needs a little bit of whittling, though.

[GerateWohl 4,373]

1 hour ago, Thor said:

 

Nice! I've been hoping for Velazquez to deliver something interesting again. This is the first score of his since LO IMPOSSIBLE (that's 11 years ago!) to enter my digital collection. Warm, mediteranean, intimate, with some "Cavatina"-like guitars running through it, crossed with CINEMA PARADISO. Needs a little bit of whittling, though.

I was really excited about Velázquez score for L'Orfanato. But ever since I didn't hear anything from him, that struck me. And I really wanted to like his music, but always found it just ok, but nothing that grabbed my attention. Somehow same category for me like Desplat. Even though Desplat delivers nice tunes from time to time.

[Thor 7,520]

11 minutes ago, GerateWohl said:

I was really excited about Velázquez score for L'Orfanato. But ever since I didn't hear anything from him, that struck me. And I really wanted to like his music, but always found it just ok, but nothing that grabbed my attention. Somehow same category for me like Desplat. Even though Desplat delivers nice tunes from time to time.

 

L'ORFANATO was 2007. Surely you've heard LO IMPOSSIBLE/THE IMPOSSIBLE from 2012? It was quite the hit at the time, about the Thailand tsunami. Fine film, lots of deserved praise heaped upon the score too, at the time. I consider that his masterpiece.

 

I don't really hear any Desplat in him. Quite the opposite, I think Velazquez is (at least was) a far greater tunesmith than "cloppety-clop" rhytmical motif Desplat ever was.

[GerateWohl 4,373]

22 hours ago, Thor said:

 

L'ORFANATO was 2007. Surely you've heard LO IMPOSSIBLE/THE IMPOSSIBLE from 2012? It was quite the hit at the time, about the Thailand tsunami. Fine film, lots of deserved praise heaped upon the score too, at the time. I consider that his masterpiece.

 

I don't really hear any Desplat in him. Quite the opposite, I think Velazquez is (at least was) a far greater tunesmith than "cloppety-clop" rhytmical motif Desplat ever was.

Ok. Sorry. I expressed this misleadingly. Desplat and Velazquez don't write similar music. Their music just on a similar level of interest to me. Even though I really wanted very much to like both. Of LO IMPOSSIBLE I just listened to the suite on Velazquez Orchestral Suites album. And yes, that's together with L'ORFANATO surely the highlight of an album, which was to be expected a complete album of highlights. But to me it wasn't.

But no issue for me. I don't have the ambition to be a fan of all world famous film composers.